• Korean journal of communication and information
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• v.76
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• pp.183-219
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• 2016

In light of the recent increase in new independent spaces within the field of artistic production, this study seeks to examine the daily experience and art practice of agents in such spaces. In-depth interviews were conducted with fifteen emerging artists, who manage new independent art spaces and participate actively in related activities, and the significance of their activities was analyzed. An important theoretical foundation of this study is Bourdieu's concept of the field of cultural production. According to Bourdieu, in order to understand a specific field, the habitus of agents must be studied together with the structure of the field. This study found that individuals belonging to the same or a close generation exhibit similar attitudes to life based on shared experiences, and they can be connected to their art practice. Most agents of new spaces did not have high expectations for success, and chose to practice art independently while bonding with their peers and enjoying the moment rather than wait for recognition or funding from external sources. Their self-fulfilling habitus is condition-specific and can be regarded as a form of flexible art practice. Given the poor conditions of today's field of artistic production, this is likely to serve as an advantage in entering the field and in position-taking. The social significance of this study lies in the fact that the aforementioned characteristics of the agents of independent production spaces not only reflect the current field of artistic production but also other fields of cultural production at large in our society.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.335-341
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• 2020

As life, once immersed in labor, changes with values and lifestyles, individuals consume or participate in culture and arts for learning, meeting of intellectual needs, pleasure, and exchange. As culture and art spaces have increased in recent times, these spaces have been transformed into places to create, view and exchange culture and art, and to consume cultural goods. Culture and art spaces have created and developed new genres and technologies that give viewers the opportunity to communicate and participate, allowing them to understand and accumulate works of media. A media façade thus gives a preference to places for visitors by giving an impression over a short period of time in culture and art spaces that are not areas for exhibitions and performances, and providing an opportunity to more easily approach and understand works and culture and art spaces. A media façade is a type of medium that imparts aesthetics and information by installing LED lighting on the exterior wall of a building for the realization of media functions. In order to analyze the effect of the media façade on preferences for culture and art spaces, a research model was established with media façade characteristics as independent variables and preferences for culture and art spaces as dependent variables. As a result, media façade design and media features influenced satisfaction, while the media characteristics of the media façade influenced recommendation and revisiting, suggesting that many changes will take place in culture and art spaces.

• The Journal of Society for e-Business Studies
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• v.26 no.2
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• pp.61-81
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• 2021

In the era of untact, the "Chabak" using cars as accommodation spaces is attracting attention as a new form of travel. Due to the advantages, including low costs, convenience, and safety, as well as the characteristics of the vehicle enabling independent travel, the demand for Chabak is continuously increasing. Despite the rapid growth of the market and related industries, little academic has investigated this trend. To establish itself as a new type of travel culture and to sustain the growth of related industries, it is essential to understand the public perception of Chabak. Therefore, based on the marketing mix theory and big data analysis, this study analyzes the public perception of Chabak. The results showed that Chabak has established itself as a consumer-led travel culture, contributing to the aftermarket growth of the automobile industry. Additionally, consumers were found to be increasingly inclined to enjoy travel economically and wisely, and actively share information through social media. This initial study on the new travel trend of Chabak is significant in that it employs big data analysis on a theoretical basis.

• Korean Institute of Interior Design Journal
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• v.23 no.2
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• pp.166-173
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• 2014

This study analyzed visual-perceptual centrality as a measure to solve the confusion that might occur in visitor's movement in analyzing contemporary museums that have recently expand. Also, this study proposed a new methodology to understand the relationships of the occurrence and convergence of visual-perceptual power. The existing visibility graph analysis mostly ends up in identifying nodes corresponding to the physical environment of museums while the newly proposed visibility graph analysis is a methodology that can analyze the landmark on which the visual-perceptual power occurs and converges, by setting visible space elements as analysis variables, which showed a possibility to draw more reliable results in parallel to the existing analysis, and the results of this analysis are as follows. A public museum located in downtown has a limitation that it cannot but be multi-layered as a way to enlarge for the accommodation of a variety of programs on a limited site. Also, this study found that the problem of visitor orientation occurring in the multi-layer process was solved by a major space which was visual-perceptually void. Also, its types can be summarized into two types: One is setting parameter spaces (ramps, staircases, hallways) linked visual-perceptually to the major space and the other is solving the confusion of the visitor's movement by composing a simple exhibition space. In particular, it is judged that the type solving the confusion of the visitor's movement by composing a simple exhibition space also had a relationship with changes in the characteristics of the exhibited works by period. In addition, it was found that the entrance also appeared in two types: dependent type and independent type in the major space according to the characteristics of the major space.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.4
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• pp.1-14
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• 2008

Although the Dreamland site was the only flat amusement park in the northern part of Seoul, the site lost its function as a regional park due to aging and, therefore, was no longer in use. The site is surrounded by currently existing high dense low-story housing blocks and proposed new towns. A renovation plan for Dreamland was raised by the City of Seoul to enhance the quality of the urban environment in the northern part of Seoul. This study articulates the design concepts and strategies of the prizewinning work of the International Design Competition for Gangbuk Large Park. The three key points can be summarized as follows: First, this design proposal tried to find a new possibility for a large mountain park in an urban areas. These days, mountain parks are used limitedly as ordinary living spaces for activities such as a walking, hiking, and physical training. New strategies were sought to reconstruct the sentiment with which our ancestors enjoyed the mountains. Second, this proposal tried to make Dreamland a socially self-sufficient park. We designed a park which generates self-energy and which communicates with the city, not a park which only exists as a green island in a city. Lastly, rain fed paddy fields, a typical Korean vernacular landscape, was a tangible space which represented people's life-styles harmonizing with the nature. Rain fed paddy fields is a design motif which puts the three surrounding mountains together with the site. It is expected that the new design will works as a noted place.